Do I Need to Use a Dragon?- A Caster Can Do It!

Art by Alison Hunt

(This is part of the section of Do I Need to Use a Dragon? that delves into using magic as a ‘cure all’.  There’s a common joke that ‘a wizard did it’ and a common argument that ‘a wizard could do it’.  People look at magic as the solution to everything once it’s introduced to a world.  As a fantasy author, I’ve had to tackle this question and mold my world to explain why it doesn’t work that way.  So, I had a lot of fun with this topic.)

what I have to get out of my system.

In Legends of Windemere, I have the character, Nyx, who is a powerful caster. I lost count of the number of times people asked me why she didn’t just blow up *insert obstacle*. This gets frustrating because the question ignores that some challenges are clearly for other characters, so Nyx wouldn’t get involved to that extent. It ignores her personality and the basics of group dynamics. She’s aware her friends will be angry if she blasts away their rivals and obstacles. Not to mention it means she’d reach the final battle against a superior enemy alongside a band of weak allies.

This question also treats magic like a cure-all for every situation, which isn’t how it should be, even in worlds where it’s plentiful. Readers may miss the nuances of this, so this question will exist for as long as people write fantasy stories. As authors, we should be more aware of this and have an explanation as to why the caster doesn’t do it by themselves.

Do I blame readers for asking this question? Not really because it’s a legitimate point in several cases. The audience might not realize the reasons behind magic not being used to solve everything because the author doesn’t make it clear. That isn’t to say it’s the author’s fault. Many factors fall into the use of magic in stories, as long as it isn’t being thrown around without consequence. If that’s the case then there’s fewer reasons for casters to solve every problem with a spell, which brings us to a truth about writing.

We depend a lot on readers catching the nuances of characters, worlds, and situations in order to avoid spelling everything out for them. Doing so can make a story boring and offend people who think they’re being looked at as simple-minded. So, an author has to work off established rules and themes without bringing blunt attention to their existence. A rampaging monster not being stopped by the powerful caster can be seen by a reader as a mistake while the author is hoping for them to see the limitations of the world’s magic. Just another reason why some people go for low and limited magic since the more of it that’s around, the louder the question.

The real question that should be asked at this point is:

Why CAN’T a caster fix it?

While it’s up to the author to give a clear reason for this, there are traditional explanations that can be modified for the story. These relate to world-building and characters, but they can have some of the most profound effects on quest progression:

Buy a copy of Do I Need to Use a Dragon? on July 3rd and find the answers!

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Benefits of Rabbit Trails

Hey, SE Readers. Joan with you on this last day of June. In my last post, I talked about the importance of getting facts straight when using real-…

Benefits of Rabbit Trails
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Poetry Day: Fallen Behind

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(This one feels like it’s rather self-explanatory.  Came from a time when I saw friends posting about doing all of these fun things.  I couldn’t go or do the same because money and time were limited.  So, I started to feel like I had fallen behind in terms of enjoying life and questioned a few decisions.)

I feel a sense of falling
While others run ahead
Leaving me with choices
That I made to pave my path
Driving me from inner child

 

I hear the tales of revelry
Of games I’ll never play
As I struggle to mend holes
Punctures upon my time
That suck away my air

 

I scramble to find time
Recapture dreams I had
Or simply grey my mind
Letting thoughts wander
Away from worlds of pain

 

I hope one day to run again
Leaving stress behind
To live a life outside of pain
Waking to a warming sun
Instead of blinding light

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Do I Need to Use a Dragon?- Romance

Art by Alison Hunt

(This is another topic I felt was unavoidable in Do I Need to Use a Dragon?.  Romance is one of the most common plots and subplots.  It’s also one that brings in a lot of controversy, especially when it shows up in other genres.  Like I said, unavoidable topic.)

I want to make it clear that I’m talking about romance and not sex. What’s the difference I hear a few people ask?

First, that’s a rather telling question.

Second, romance is when characters become emotionally attached and close to each other. It can be the catalyst for moments of great joy or deep sadness in both characters and readers. Sex is simply the act of procreation, which humans will also do for pleasure.

The addition of this type of story can be seen as a mistake as well. There are plenty of strong opinions on romance being added to a story, which isn’t primarily about character relations. As you can expect, those aren’t all positive thoughts, which is why this can become a controversial topic. Some would even say that a romance is what an author does to destroy their characters and story. That’s rather extreme, but you’ll see how that can come about.

Romance is possibly the most common subplot you will find in stories that don’t have it as the core conflict. People may also call it the most infectious storyline because it can take over a book if one isn’t careful. This happens when a romance involves a lot of drama, tension, and swerves. Character relationships can be hurt thanks to the couple either getting together or breaking apart. Those around them may be written to take sides or the team can no longer function due to the remaining tension. So, the romance ends up overshadowing and nearly consuming the main story. It’s no longer about the quest or politics, but the relationships that are being created, strained, or broken.

This occurs because some of our most powerful emotions are stirred by romances. Love, hate, passion, sadness, doubt, angst, and fear are all thrown into the mix as things move from introduction to being a couple and beyond. Authors strive to put emotions into their works and readers hope to have such things evoked in their own minds, so it’s easy to fall into the rabbit hole. By the time you realize something is wrong, the damage has been done, which is why many try to avoid romances entirely. This isn’t any better than going too far.

The reason why an author shouldn’t swear they’ll never write a romantic subplot is the same one for why they’re so common. Romances are a part of life whether they be good, bad, or absent. A person can be in a loving relationship, a toxic one, or be yearning for anything that makes them feel wanted. Humans are social creatures and love is a driving force that most people can understand. Characters who never fall in love, or pursue relationships beyond friendship, can be seen as missing a humanizing aspect. This isn’t necessarily true, but that’s the perception some readers will create in their minds

Even if it’s a crush that is never made clear or seen to fruition, the demonstration that romance is possible is important. It can come from the secondary characters instead of the primary, which can help prevent the subplot from consuming the entire story. Yet, a romance is there in some fashion. I’m not saying this is entirely necessary, but it’s a powerful option an author should never throw away out of fear or hate. All one has to do is be careful and make sure it doesn’t become so big that it sucks all the air out of the book.

What else is there to say about romance? A lot more is inside Do I Need to Use a Dragon?. Coming July 3rd.

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The Top Ten Traits of Successful Writers – Can You See Yourself?

Photo by Johnny Briggs on Unsplash Hello SEers. John is with you today. I hope your week is going well. As you know, I continually poke at the idea …

The Top Ten Traits of Successful Writers – Can You See Yourself?
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Questions 3: The Quest

Art by Alison Hunt

Can’t really have a story without a quest or plot.  While quests do tend to be the most common plot in fantasy, the advice one gets can go for general story creation.  Do I Need to Use a Dragon? has you covered here too.  This was the third big section because I really think world (setting), characters, and quest (plot) are the cornerstones.  Most things fall under these categories.  Now, on to the questions.

  1. Do you plan your stories or fly by the seat of your pants?
  2. Do you think plot evolves the characters, vice versa, or mutual symbiotic relationship?
  3. What is your favorite quest to write?
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Check This Out: Fifty

Hello! Joining me on the blog today is the awe-inspiring, your friend and mine, Andrew James Murray (Andy to those of who know his blog, City Jackdaw…

Check This Out: Fifty
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Do I Need to Use a Dragon?- Fight Scenes

Art by Alison Hunt

(Do I Need to Use a Dragon?‘s final section is on ‘The Quest’.  Just a colorful way of saying ‘the plot’.  One of my favorite scenes to write are fight scenes.  They’re a fun challenge and a necessity in most fantasy stories.  There are many ways to do them, but there are a few tricks to making them remain clear.)

While I can think of many mistakes people make with fight scenes, there are two that stand out the most. Avoid these and you’re already halfway there.

First, make sure the weapons and armor fit the characters. If I already said this, then I’m saying it again. The characters need to be able to wield their gear, which have to match their style. A gnome running around with a 500-pound axe is going to require a lot of magical enchantments. Thieves who work with stealth aren’t going to be wearing regular platemail, which is loud and heavy. This is something that will be taken care of in character creation, but you should keep it in mind. As I said, magic can give you a way around these issues, but it shouldn’t be abused.

The second mistake is much more dire and destructive:

REMEMBER THE INJURIES!

I cannot tell you how many times I’ve read or seen a fight scene with a character who is moving around fine after getting badly hurt. There is a suspension of disbelief here, so they can push harder through pain and blood loss. I will fully admit that the heroic ‘plot armor’ characters receive can give you some leeway. For those who don’t know, ‘plot armor’ is how certain heroes are protected from harm due to their importance to the story. Even with this tool, there are limits or you risk making the fight scene utterly ridiculous.

The worst of the forgotten injuries have to be cuts and broken bones, especially with the limbs. If a warrior’s arm is damaged then they can’t be at full strength. Sword arm means they can’t hit and parry as well as before. Shield or free arm is the same, but for blocking and catching. Leg injuries hinder movement. Twisting away from attacks should no longer be a smooth motion since pain is involved. Injured heroes get tired faster as well. If you fear that you make these kinds of mistakes then maintain a log on the side. This way, you will know who is capable of doing what during the fight and the aftermath.

To keep a core fight scene exciting, it’s best to create a back-and-forth that keeps the reader guessing about who will win. Even the protagonist can lose without dying or fight to a draw instead of pummeling the enemy without effort. An extended fight gets boring if it’s a full overpowering by one character and a simplified one doesn’t do any better. Nobody enjoys seeing a one-shot crushing, especially if there was a build up to the fight. The result is a sense of the author trying to be funny or getting bored with the story. Not to say that you can’t write a fight where a person is defeated swiftly, which is done to push a specific plot point. The loser needs to lose bad to be either removed or given the desire to get stronger.

If the reason for the fight is to deliver a payoff of brewing tension and push development then you need to make it a show. Use parries and dodges with each combatant looking for openings.  Remember the terrain and have that play a part, which can shatter momentum and move things either to the middle or the opposing side. Try to have moves blend into each other, which prevents the fight scene from coming off as jerky. A thrust with a spear can be turned into a quick smack with a flick of the wrist. This can result in the opponent jumping further to the side and then diving in low for a slash to the back. It isn’t easy and takes time to have actions work together, especially if it’s between more than two characters. This is another reason why you shouldn’t rush through a plot essential fight scene.

Still nervous about writing a battle or skirmish since they seem fairly complicated? Then it’s time to do . . .

Discover the missing word on July 3rd when you buy a copy of Do I Need to Use a Dragon?

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Learn from the Masters

Ciao, SEers! The last time we were together, we discussed a few apps that compare our writing to famous authors. If you missed that post, you can …

Learn from the Masters
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End of School Funnies

Friday was the last day of the 2022-2023 school year.  I’m tired and spending time with family, so I set up some funnies.  Definitely need some funnies . . . Also, sleep.

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